Post by The Ultimate Nullifier on Sept 20, 2014 7:11:34 GMT -6
variety.com/2014/film/reviews/film-review-the-statesman-1201309269/
Full of unexpected twists and turns, this witty dissection of French political stratagems and counterstratagems poses global questions of polarization in a humorously sparkling light.
Ronnie Scheib
A sly, spirited, vastly entertaining dissection of a presidential campaign, Pierre Courrege’s “The Statesman” disguises its true import under a barrage of bon mots and clever stratagems, as a marvelously Machiavellian intrigue unfolds from a highly unlikely source — the stalwart, principled, traditional left. Though French to the bone (politicians pitch boules on rural greens), this clever bit of liberal wish fulfillment can perhaps be best appreciated in countries like the U.S., where the strength of the extreme right looms ever larger while the inspiration, cleverness and courage of the left wanes. Skedded for a November release in France, “The Statesman” might prove a seasoned traveler.
A few weeks before the elections, the incumbent president, Vanier (Patrick Braoude), a thin-lipped, humorless, right-leaning opportunist whose popularity has understandably sunk to an all-time low, is willing to climb into bed with any faction that promises re-election. At the point of aligning himself with the reactionary far right, he is persuaded by his advisor (Bruno Solo) to try to win over Robert Bergman (Pierre Santini), a highly respected, now-retired “old lion” of the left, the idea being that even if that venerable personage refuses to make a deal, the media can still spin any simple meeting into an actual alliance.
Vanier deploys his forces, chief among them Safia Khalifa (Samia Dahmane), a brilliant ex-disciple of Bergman’s, who is sent ahead to persuade the great man to accept a proposed (largely fictive) major role in the new government. Safia travels to the picturesque town of Gers (not coincidentally, director Courrege’s hometown), and is soon trading quips and crossing ideological swords with her former mentor, both speaking the same language and clearly enjoying the spirited exchange, synched to a rhythm that is pure pleasure to follow.
Much as Safia is in no hurry, for reasons both strategic and personal, she must constantly fend off the paranoia of her boss, fearful that the charismatic Bergman may seduce her back over to his side (with a subtle hint that, for Vanier and his ilk, an ethnically “other” woman, though a definite political asset, can never be completely trusted). Bergman, on the other hand, proves completely supportive of his wife (Nicole Valberg) in her advocacy in the field of global water rights. Their deeply felt relationship, based as much on shared irony as shared activism, stands in marked contrast to Vanier’s dismissive arrogance toward his political minions.
Bergman agrees to the meeting — a confrontation that rapidly passes from civility to outright hostility — and Vanier, having apparently engineered his photo op to satisfy own ends, returns to Paris. But appearances can be deceptive, or consciously manipulated, and dirty tricks need not be the exclusive province of the right.
The acting here is superlative, particularly on the part of Santini, who radiates an integrity composed of equal parts intelligence, humor and conviction, while Braoude’s Vanier, with his pinched, haughty, none-too-bright aura of entitlement, perfectly serves as his clueless foil.
Safia is not the only one to feel the warming effects of her visit to the South, as Baptiste Magnien’s lensing amps up the difference between the cold marble of presidential Paris and the lush, sunlit greenery of the Midi-Pyrenees.
Film Review: 'The Statesman'
Reviewed at Montreal World Film Festival (competing), Aug. 27, 2014. Running time: 92 MIN. (Original title: “Un homme d’etat”)
Production
(France) A Picseye Films, Lavita Films production. (International sales: Cinexport, Paris.) Produced by Xavier Pleche, Hicham Fassi Fihri, Anais Vita.
Crew
Directed by Pierre Courrege. Screenplay, Francois Begaudeau, Courrege. Camera (color, widescreen), Baptiste Magnien; editor, Nicole Saunier; music, Mathieu Vilbert; costume designer, Blandine Vincent; sound, Harald Maury; re-recording mixer, Vincent Villa.
With
Pierre Santini, Patrick Braoude, Bruno Solo, Samia Dahmane, Francois Begaudeau, Jean Benguigui, Nicole Valberg.
Full of unexpected twists and turns, this witty dissection of French political stratagems and counterstratagems poses global questions of polarization in a humorously sparkling light.
Ronnie Scheib
A sly, spirited, vastly entertaining dissection of a presidential campaign, Pierre Courrege’s “The Statesman” disguises its true import under a barrage of bon mots and clever stratagems, as a marvelously Machiavellian intrigue unfolds from a highly unlikely source — the stalwart, principled, traditional left. Though French to the bone (politicians pitch boules on rural greens), this clever bit of liberal wish fulfillment can perhaps be best appreciated in countries like the U.S., where the strength of the extreme right looms ever larger while the inspiration, cleverness and courage of the left wanes. Skedded for a November release in France, “The Statesman” might prove a seasoned traveler.
A few weeks before the elections, the incumbent president, Vanier (Patrick Braoude), a thin-lipped, humorless, right-leaning opportunist whose popularity has understandably sunk to an all-time low, is willing to climb into bed with any faction that promises re-election. At the point of aligning himself with the reactionary far right, he is persuaded by his advisor (Bruno Solo) to try to win over Robert Bergman (Pierre Santini), a highly respected, now-retired “old lion” of the left, the idea being that even if that venerable personage refuses to make a deal, the media can still spin any simple meeting into an actual alliance.
Vanier deploys his forces, chief among them Safia Khalifa (Samia Dahmane), a brilliant ex-disciple of Bergman’s, who is sent ahead to persuade the great man to accept a proposed (largely fictive) major role in the new government. Safia travels to the picturesque town of Gers (not coincidentally, director Courrege’s hometown), and is soon trading quips and crossing ideological swords with her former mentor, both speaking the same language and clearly enjoying the spirited exchange, synched to a rhythm that is pure pleasure to follow.
Much as Safia is in no hurry, for reasons both strategic and personal, she must constantly fend off the paranoia of her boss, fearful that the charismatic Bergman may seduce her back over to his side (with a subtle hint that, for Vanier and his ilk, an ethnically “other” woman, though a definite political asset, can never be completely trusted). Bergman, on the other hand, proves completely supportive of his wife (Nicole Valberg) in her advocacy in the field of global water rights. Their deeply felt relationship, based as much on shared irony as shared activism, stands in marked contrast to Vanier’s dismissive arrogance toward his political minions.
Bergman agrees to the meeting — a confrontation that rapidly passes from civility to outright hostility — and Vanier, having apparently engineered his photo op to satisfy own ends, returns to Paris. But appearances can be deceptive, or consciously manipulated, and dirty tricks need not be the exclusive province of the right.
The acting here is superlative, particularly on the part of Santini, who radiates an integrity composed of equal parts intelligence, humor and conviction, while Braoude’s Vanier, with his pinched, haughty, none-too-bright aura of entitlement, perfectly serves as his clueless foil.
Safia is not the only one to feel the warming effects of her visit to the South, as Baptiste Magnien’s lensing amps up the difference between the cold marble of presidential Paris and the lush, sunlit greenery of the Midi-Pyrenees.
Film Review: 'The Statesman'
Reviewed at Montreal World Film Festival (competing), Aug. 27, 2014. Running time: 92 MIN. (Original title: “Un homme d’etat”)
Production
(France) A Picseye Films, Lavita Films production. (International sales: Cinexport, Paris.) Produced by Xavier Pleche, Hicham Fassi Fihri, Anais Vita.
Crew
Directed by Pierre Courrege. Screenplay, Francois Begaudeau, Courrege. Camera (color, widescreen), Baptiste Magnien; editor, Nicole Saunier; music, Mathieu Vilbert; costume designer, Blandine Vincent; sound, Harald Maury; re-recording mixer, Vincent Villa.
With
Pierre Santini, Patrick Braoude, Bruno Solo, Samia Dahmane, Francois Begaudeau, Jean Benguigui, Nicole Valberg.